WildKat PR is delighted to welcome a new artist management company to our roster: Noel Music Management (NMM). Working with both professional soloists and renowned orchestral musicians, NMM is committed to helping musicians forge their careers through finding them paid performances whilst also helping with advertising, marketing and PR. They already represent 13 soloists, 2 chamber groups and 140 orchestral musicians, including players from the London Symphony Orchestra and Royal Philharmonic Orchestra.

We will be working with them specifically on their newly inaugurated Friends and Patrons Scheme which aims to further the opportunities already available to the musicians. The Scheme embraces ‘crowdfunding’, an innovative new way to raise funds which is becoming increasingly popular, most prominently by the Danish National Chamber Orchestra recently. It allows Patrons to invest in and support a growing arts organisation at a time when the arts are facing severe cuts, so guaranteeing the industry’s future. Those interested can donate any amount of money, from £40, the equivalent of a concert ticket, right up to £10,000 and Funders receive an array of benefits in return. These range from discounted and VIP tickets, to a bespoke concert series in their name or a composition dedicated to them.

Friends and Patrons will clearly see their contributions directly benefitting tomorrow’s classical musicians through scholarships and covering concert costs. These Funders will also be supporting Noel Music Management’s four key values: challenging the normal concert protocol and adopting new approaches; curating concerts that are wide reaching and inspire change; performing educational concerts that increase understanding of the genre; and also putting on inclusive concerts which attract a diverse audience and are suitable for all.

Today, 28th January 2015, the Department for Education published their new plans for the content of GCSE and A Level Music exams to be brought into effect from autumn 2016.

The state of music education has been a hot topic in recent weeks and months and was particularly publicised by pianist James Rhodes’ Channel 4 documentary and subsequent ‘Don’t Stop the Music’ campaign to give every child the opportunity to learn a musical instrument. Fueling the fire, Education Secretary Nicky Morgan, warned in November 2014 against studying arts subjects in favour of science and maths, arguing that the arts would ‘hold them [students] back for the rest of their lives’. Many prominent musicians such as Nicola Benedetti spoke out against this statement.

The main changes to note from today’s announcement is that, at both levels, the dates open to study are being widened from 1700 to 1900 (this narrowness has been widely criticised) to 1650 to 1910. This means a much large portion of the Baroque period is included and will now account for the beginning of Bach and Handel’s lives who were both born in 1685. Although the Baroque period is usually said to begin in 1600, 1650 is still a much more standardized year to begin musical education than the original guidelines. The same can be said of the additional 10 years at the end of the timeline. Indeed, bringing music education in line with widely recognised facts in the classical music industry is surely only a positive thing. For this development we have ISM’s Protect Music Education campaign to thank.

Interestingly, commentators have also noted that the usual overwhelming focus on the Western Classical Tradition at GCSE and A Level has been changed to include a compulsory study outside of this. As the world, business, finance and politics become more interconnected, understanding other countries’ history and culture is increasing in importance. Part of this is understanding others’ music and I think this change in the curriculum is a good starting point.

Another positive change, although small, is a change of phrasing: ‘performance and composition’ has become ‘performing and composing’. This subtle difference somewhat removes the pressure on the final outcome of recitals and compositions but emphasises the enjoyment of all parts music making: practising, refining, crafting harmony, correcting errors, discovering that pupil’s personal style. Again, ISM’s campaign was successful.

Hopefully these changes will contribute to the widening belief that music education is beneficial and relevant but that it will also encourage more young people to experience the enjoyment of music.

A very exciting initiative launched yesterday, 26th January 2015: Musical Orbit. The website is offering musicians the opportunity to book one-to-one lessons, as well as free webinars and masterclasses with some of the top principal players from major orchestras such as the London Symphony Orchestra, the Royal Philharmonic Orchestra and the London Mozart Players. Whether you have an audition, final exam or recital, through Musical Orbit you can receive bespoke feedback from industry experts on your playing to allow you to perform to your absolute best.

This opportunity means Musical Orbit is also a central online hub, allowing musicians to connect, for young artists to build relationships within the industry and to receive playing tips. Professional musicians wanting to give back to the industry can do so in their own time, anywhere in the world. The hub will also provide discounts to the most popular concerts, with promo codes that are available only on the Music Orbit website.

To celebrate this exciting project, Musical Orbit is offering the chance to win FREE music lessons if you sign up before next Monday (2nd February 2015). Get yourself over there quickly to be mentored by some of the best classical musicians in the world!

The outgoing chairman of English National Opera, Martyn Rose, has called ENO’s direction under artistic director John Berry ‘wholly unsustainable’ in a letter sent to Sir Vernon Ellis, ENO’s president.

The snowstorm forced the Metropolitan Opera to cancel one of the highlights of its season: Monday night’s planned premiere of a new production of a double bill of Tchaikovsky’s “Iolanta,” starring Anna Netrebko, and Bartok’s “Bluebeard’s Castle.”

WildKat PR is very excited to introduce our newest client: the Chamber Music Society of Lincoln Center (CMS). Based at New York’s infamous Lincoln Center for the Performing Arts, CMS features some of the finest chamber music performances on a world stage. As well as thrilling seasoned concert goers, they also seek to engage a wider audience with chamber music through their performances, education programmes, and recording activities.

Motivated by their commitment to the continuation of the chamber music tradition, they founded CMS Two which is a prestigious, unique and wildly competitive three season residency for the most significant ensembles and individual musicians. Far from being an ‘extra’, CMS Two members take part in all aspects of the Society’s activities and it boasts alumni such as Lang Lang and Hilary Hahn.

We will be working with CMS on a very exciting concert on 8th May 2015 at London’s Wigmore Hall which, alongside standard repertoire from Schumann and Brahms will also feature the world premiere of a specially co-commissioned piece by British composer Helen Grime. This new string trio continues the longstanding relationship between the two cross-Atlantic concert halls.

According to the latest survey compiled by the German Orchestra Association, the 2013–14 orchestral season encompassed 4,160 concerts for children and young people – 94 per cent more than in the same period ten years ago.

Seasoned theatre-goers know the value of stretching the legs and eating a quick snack during the interval of a lengthy production, but they now have the chance to eat, walk about, lie down and even do some washing-up during the world’s first “mindfulness opera”.

Following the success of their previous concert, here at WildKat PR we have been looking forward to our client Orpheus Sinfonia’s next Beneath The Score concert: ‘The Shakespeare Influence’. The evening’s music will be inspired by the works of Shakespeare and include works from composers such as Mendelssohn, Prokofiev and Tchaikovsky. The performance will also be interspersed with readings by two young talented actors from some of Shakespeare’s most loved plays: ‘A Midsummer Night’s Dream,’ ‘Much Ado about Nothing,’ and ‘Romeo and Juliet.’

The Beneath The Score series aims to bring classical music to new audiences and expand the knowledge of the experienced, by exploring the meaning behind the work during the concert. The first concert, which explored Beethoven’s life and revolutionary influence, included readings of extracts of his diaries and images to bring the music more to life. Indeed, many audience members, newcomers and seasoned concertgoers alike, commented on how much they learnt as well as how much they enjoyed the music. One person remarked how she did not realise how early Beethoven’s deafness set in whilst another was very new to the experience and so learnt much more than he knew before.

The concert will be performed by the talented Orpheus Sinfonia, an orchestra composed of recently graduated musicians emerging from study into the profession, and conducted by conductor, cellist and presenter Thomas Carroll. The Shakespeare Influence will take place this Thursday (22nd January 2015) at 19:30pm at St George’s Church in Hanover Square. Tickets can be found here. It promises to be a fascinating and uplifting evening.

The world is a big place with lots of exciting things to experience, especially in the classical music world. In the spirit of our New Year’s resolutions blog to try new things and set new goals, we were inspired to begin thinking about our classical music ambitions: orchestras we would love to see live, concert halls we want to visit, instruments we aspire to learn. As well as having a think ourselves, we asked you over on our Facebook and Twitter pages to send yours in too. Here they are:

Prom at the BBC Proms

As one of the best classical music festivals in the world, showcasing the best talent, Promming at the Proms is a longstanding tradition and therefore is a musical must. Standing in the arena or galleries offers an atmosphere unrivaled by buying a ticket and sitting. For only £5, you can experience some of the world’s greatest artists. We recommend joining the queue before 16:30 to ensure you get in.

Equally, the Last Night of the Proms is a spectacular, patriotic finale to a summer’s worth of music. The first half is a traditional concert whilst, during the second half, the Royal Albert Hall transforms into a sea of flag waving, national anthem singing extravaganza. With favourites such as Rule Britannia, Elgar’s Land of Hope and Glory and Jerusalem sung every year, it’s no wonder tickets are highly sought after and distributed via a ballot each year. Thankfully, Promming is still an option on the Last Night although you will need to get there much earlier than on a regular night!

Although the prospect of going to an opera or ballet for the first time can seem scary, The Telegraph have written a handy guide to etiquette at such events so you can enjoy the concert and look like a seasoned pro.

Sitting in an orchestra whilst they are playing

Carolin in our Berlin office suggested this great idea. Just imagine watching a pianist’s hands whiz over the keys or feeling the vibrations of the timpani!

One of our interns, Ruth, said she would like to go to the traditional Nine Lessons and Carols at King’s College Cambridge one Christmas rather than just watching it on television. Guaranteed to get you in the festive mood.

Learn to play an unusual musical instrument

The world is full of violinists, why not take up the Chinese Yangqin?!

Extremely topical at the moment as it only just opened this week (14th January 2015). Sarah, one of our Account Managers who suggested this, and others interested, should take a look at their upcoming season programme for more details.